I haven't practiced in about a week. You know that feeling where you know what you want to play but your fingers feel awkward? Yeah. That awkward feeling.

Anyway, hope you like. Guitar is a Carvin DC400 of course, into a Velvet Katana, into a Hot Rod Deluxe.

Fri Jun 15, 2012 4:35 pm

Sir Robin

Viking Kong

Joined: Wed Jan 25, 2006 11:07 pmPosts: 5559Location: Bra-silk

Re: Jam

sounds great, man.

If your hands feel like they can't follow up after a week without practicing, just picture what it is like when you don't touch an instrument for months!

_________________

JeffMartin wrote:

Incredibly cool artwork.You're hired. For what...I have no clue.

Fri Jun 15, 2012 6:10 pm

vvaltsu

is evil...Evil Joe

Joined: Sun Jun 10, 2012 6:24 pmPosts: 38Location: Finland

Re: Jam

Sir Robin wrote:

sounds great, man.

If your hands feel like they can't follow up after a week without practicing, just picture what it is like when you don't touch an instrument for months!

Or when your hand is six weeks in a splint, like mine. Gaaah. Just went to see my surgeon earlier today, we checked the functions of my hand. My wrist and thumb are working jolly good. I advise all of you not to hit your wrist with an axe.

E: I think I gotta say at least something concerning the topic. You have my respects, I have never had the time to even study exotic modes. And I understand you are changing the mode continuously along with the chords. It's something that Friedman did, isn't it?

_________________I remember singing To Be With You in a Karaoke Revolution game, on Playstation. And I won. - Eric Martin

Fri Jun 15, 2012 7:21 pm

Refried Bean

Viking Kong

Joined: Mon Jan 03, 2005 3:20 amPosts: 6727

Re: Jam

vvaltsu wrote:

Sir Robin wrote:

sounds great, man.

If your hands feel like they can't follow up after a week without practicing, just picture what it is like when you don't touch an instrument for months!

Or when your hand is six weeks in a splint, like mine. Gaaah. Just went to see my surgeon earlier today, we checked the functions of my hand. My wrist and thumb are working jolly good. I advise all of you not to hit your wrist with an axe.

E: I think I gotta say at least something concerning the topic. You have my respects, I have never had the time to even study exotic modes. And I understand you are changing the mode continuously along with the chords. It's something that Friedman did, isn't it?

Ouch! Hope you get better soon dude...

Thanks for checking it out man. Yes, this song does call for the changing of modes with every chord. Someone asked me about it on the comments and this was my reply:

Most people that don't study music theory don't really know this, but you are changing modes all the time even in "one key/one tonal center" chord progressions. When you play a chord progression like...A minor7 to F Major7 and loop that...People usually just simply play/think A natural minor over the entire thing. BUT, if you look deeper into it you're actually playing 2 "modes"... A aeolian to F Lydian. However it'd be really redundant to say that, since they're the exact same scale (all the same notes)! They're directly related to each other so you just hear one scale. So to some people it's absolutely jarring to hear A Dorian to F lydian even though the difference is only one note (and yes you can do this too over the same progression). Anyway, the way I probably explained it is kind of a stretch to those learned in music theory as well, just making a point that changing modes isn't anything new or complicated. It's just most people aren't used to hearing angular changes.

What is also challenging to hear/play for some people the super imposition of certain arpeggios or pentatonic scales over these chords. I'm willing to bet that a lot of people don't know that you can play 3 different minor pentatonics for most chords. For example...for C major 7, you could play A minor pentatonic, B minor pentatonic, or E minor pentatonic, and all of those scales give a different flavor of C major. B minor over C major is a very lydian sound, while A minor over C major is very Ionian. Playing an E minor pentatonic or Emin7 arp is somewhat in between, and implies more of a C major 9 plus a major 6 chord extension. Pentatonics can be a really cool and easier way to start hearing modes for people, especially all you have to do is shift the position of a shape and it'll sound good (pentatonics have all the right notes all the time).

For the jazz guys, Altered dominant chords are an exception, you can play 1 pentatonic over these.

Anyway, there's a lot of really cool things you can do over a single chord. It's a long process to discover everything you can play over a chord, and then bring it into a song where the tonal center and chords are shifting in angular ways.

Fri Jun 15, 2012 8:47 pm

vvaltsu

is evil...Evil Joe

Joined: Sun Jun 10, 2012 6:24 pmPosts: 38Location: Finland

Re: Jam

Refried Bean wrote:

vvaltsu wrote:

Sir Robin wrote:

sounds great, man.

If your hands feel like they can't follow up after a week without practicing, just picture what it is like when you don't touch an instrument for months!

Or when your hand is six weeks in a splint, like mine. Gaaah. Just went to see my surgeon earlier today, we checked the functions of my hand. My wrist and thumb are working jolly good. I advise all of you not to hit your wrist with an axe.

E: I think I gotta say at least something concerning the topic. You have my respects, I have never had the time to even study exotic modes. And I understand you are changing the mode continuously along with the chords. It's something that Friedman did, isn't it?

Ouch! Hope you get better soon dude...

Thanks for checking it out man. Yes, this song does call for the changing of modes with every chord. Someone asked me about it on the comments and this was my reply:

Most people that don't study music theory don't really know this, but you are changing modes all the time even in "one key/one tonal center" chord progressions. When you play a chord progression like...A minor7 to F Major7 and loop that...People usually just simply play/think A natural minor over the entire thing. BUT, if you look deeper into it you're actually playing 2 "modes"... A aeolian to F Lydian. However it'd be really redundant to say that, since they're the exact same scale (all the same notes)! They're directly related to each other so you just hear one scale. So to some people it's absolutely jarring to hear A Dorian to F lydian even though the difference is only one note (and yes you can do this too over the same progression). Anyway, the way I probably explained it is kind of a stretch to those learned in music theory as well, just making a point that changing modes isn't anything new or complicated. It's just most people aren't used to hearing angular changes.

What is also challenging to hear/play for some people the super imposition of certain arpeggios or pentatonic scales over these chords. I'm willing to bet that a lot of people don't know that you can play 3 different minor pentatonics for most chords. For example...for C major 7, you could play A minor pentatonic, B minor pentatonic, or E minor pentatonic, and all of those scales give a different flavor of C major. B minor over C major is a very lydian sound, while A minor over C major is very Ionian. Playing an E minor pentatonic or Emin7 arp is somewhat in between, and implies more of a C major 9 plus a major 6 chord extension. Pentatonics can be a really cool and easier way to start hearing modes for people, especially all you have to do is shift the position of a shape and it'll sound good (pentatonics have all the right notes all the time).

For the jazz guys, Altered dominant chords are an exception, you can play 1 pentatonic over these.

Anyway, there's a lot of really cool things you can do over a single chord. It's a long process to discover everything you can play over a chord, and then bring it into a song where the tonal center and chords are shifting in angular ways.

Wow, dude. You really do know your stuff. I have to study that some more, maybe I'll figure out some fancy new things to play.

_________________I remember singing To Be With You in a Karaoke Revolution game, on Playstation. And I won. - Eric Martin

Fri Jun 15, 2012 9:04 pm

Refried Bean

Viking Kong

Joined: Mon Jan 03, 2005 3:20 amPosts: 6727

Re: Jam

Thanks! I'm actually not the best at theory, I'm mostly self taught with a lot of things...but I listen a lot and transcribe a whole bunch so it helps.

If you ask Scott Henderson what he plays over B minor, he'll say "Anything BUT B minor!"

Fri Jun 15, 2012 9:07 pm

Rich

Viking Kong

Joined: Tue Jul 27, 2004 10:00 pmPosts: 8264Location: Denver, CO.

Re: Jam

Refried Bean wrote:

If you ask Scott Henderson what he plays over B minor, he'll say "Anything BUT B minor!"

Ah! Great rule to live by!

The vid kicks ass, by the way! So in that video, you're utilizing all 7 modes at one time or another?Now I have to go pick 'em all out.

_________________Social justice is for pussies!

Sat Jun 16, 2012 4:16 am

Refried Bean

Viking Kong

Joined: Mon Jan 03, 2005 3:20 amPosts: 6727

Re: Jam

No not really. I'm only using about 5 modes, one per chord, maybe sometimes implying certain modes with different uses of pentatonic scales or arpeggios. Using one mode doesn't mean I'd say I'm using 6 other different scales or something. Even if Db Dorian is the same as B Ionian, if I were soloing Db dorian over a Dbmin7 chord you wouldn't call it B Ionian. You'd call it Db dorian because the key center is Db, and you're basing the harmony and intervals off of that Db root. They just have the same notes that's all. I think what I said in the above post might have been really confusing, so maybe disregard it lol.

Sat Jun 16, 2012 7:24 am

Milan

Dr. X

Joined: Thu Oct 27, 2011 11:09 amPosts: 153

Re: Jam

This sounds really good to me !Most of the time i just listen to metal and rock but now i feel like i have to buy some larry carlton.

What is also challenging to hear/play for some people the super imposition of certain arpeggios or pentatonic scales over these chords. I'm willing to bet that a lot of people don't know that you can play 3 different minor pentatonics for most chords. For example...for C major 7, you could play A minor pentatonic, B minor pentatonic, or E minor pentatonic, and all of those scales give a different flavor of C major. B minor over C major is a very lydian sound, while A minor over C major is very Ionian. Playing an E minor pentatonic or Emin7 arp is somewhat in between, and implies more of a C major 9 plus a major 6 chord extension. Pentatonics can be a really cool and easier way to start hearing modes for people, especially all you have to do is shift the position of a shape and it'll sound good (pentatonics have all the right notes all the time).

NOW I'm interested. I've got to go study up on this!

_________________Social justice is for pussies!

Sat Jun 16, 2012 6:53 pm

Refried Bean

Viking Kong

Joined: Mon Jan 03, 2005 3:20 amPosts: 6727

Re: Jam

Check this out Rich, here's a good example of what I'm talking about with the pentatonic stuff (The intro playing is pretty much all pentatonic)

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